وزارة الإدماج والمساوة بين الجنسين في السويد (بالسويدية:Integrations- och jämställdhetsdepartementet) هي وزارة في حكومة السويد تشمل مسؤولياتها شؤون المستهلكين، قضايا الديمقراطية، المساواة بين الجنسين، حقوق الإنسان، القضاء على التمييز العرقي، شؤون التجمعات الحضرية، قضايا الأقليات، شؤون المنظمات غير الحكومية وشئون الشباب والنشأ. وتقع مكاتب الوزارة في ستوكهولم.

تاريخ
تأسست الوزارة في 1 يناير 2007 بعد مناقشات أجرتها الحكومة الجديدة التي تولت الحكم في 6 أكتوبر 2006، سابقا كانت أنشطة هذه الوزارة موزعة بين وزارة العدل ووزارة الشؤون الخارجية.

ترأس الوزارة الوزيرة العضو في حزب شباب الليبراليين السويدي نيامكو سابوني التي ولدت في بوجمبورا، بوروندي.

وصلات خارجية
 Ministry of Integration and Gender Equality, الموقع الرسمي

الجنس في السويد
حقوق الإنسان
وزارات المساواة بين الجنسين
وزارات أسست في 2007
وزارات حكومة السويد

وزارة الإدماج والمساوة بين الجنسين السويدية


Le tunnel de Padornelo-Lubián – ou túnel de Padornelo-Lubián en espagnol – est un tunnel ferroviaire espagnol entre Requejo et Lubián, dans la province de Zamora, en Castille-et-León. Long de , il fait partie de la ligne à grande vitesse de Galice.

Situation ferroviaire

Histoire

Caractéristiques

Notes et références

Voir aussi

Articles connexes
 ligne à grande vitesse de Galice

Liens externes

Padornelo-Lubián
Padornelo-Lubián
Transport ferroviaire en Castille-et-León
Province de Zamora

Tunnel de Padornelo-Lubián


El corcovado castaño o perdiz colorada (Odontophorus hyperythrus) es una especie de ave galliforme de la familia Odontophoridae endémica de Colombia.

Hábitat
Vive en el bosque húmedo de montaña y en los bordes densos del Huila-Neiva de altitud, entre los 1.600 y 2.700 m de altitud.

Descripción
Mide 25 a 28 cm de longitud. Presenta piel desnuda alrededor del ojo y línea posocular blancas; el plumaje del dorso color castaño con vermiculado negro; puntos negros en las escápulas y matices color ante y grisen la nuca y las alas; el macho presenta mejillas y partes inferiores color castaño rojizo rufo; la hembra tiene el pecho y el vientre marrón grisáceo.

Alimentación
Se alimenta de frutos caídos, semillas e invertebrados.

Comportamiento
Permanece en grupos familiares de hasta 9 individuos, que buscan alimento durante el día entre la hojarasca del bosque. En la noche duermen en ramas de árboles, ubicadas entre 6 y 10 m de altura del suelo.

Reproducción
Construye un nido en forma de túnel cubierto de fragmentos de hojas y ramas, con una cámara de 20 cm de profundidad por 15 cm de ancho y la entrada de 10 cm de diámetro. La hembra pone 4 a 5 huevos de color crema. La incubación dura 27 a 29 días y los polluelos duermen uno  os días más el nido y luego permanecen con el grupo.

Referencias

Enlaces externos

Foto

Hyperythrus
Aves de América del Sur
Aves endémicas de Colombia
Animales descritos en 1858

Odontophorus hyperythrus


العمارة العثمانية الهندسة والتصميم المعماري المُميّز ، وظهر هذا الطراز في مدينتي بورصة وأدرنة في القرنين الرابع عشر والخامس عشر. طورت من  السابقةِ وتُأثّرتْ ب، وإلى أكبر مدى تأثرت بالهندسة ، بالإضافة إلى تقاليد المماليك الإسلامية بعد فتح العثمانيين لتقريباً 500 سنة. الأعمال البيزنطيةِ المعمارية مثل كنيسة آية صوفيا أُخذت كنماذج للعديد من المساجد العُثمانية. الهندسة المعمارية العُثمانية وُصِفت كتجانس التقاليد المعمارية للبحر الأبيض المتوسط والشرق الأوسط.

أتقن العثمانيون تقنيةَ فراغاتِ البناء الواسعةِ الداخليةِ التي انحصرت بالقبب الهائلةِ لحد الآن عديمة الوزنِ على ما يبدو والتي تنجز انسجام مثالي بين الفراغات الداخلية والخارجية بالإضافة إلى الضوء والظلِّ الموضوع. الهندسة المعمارية الدينية الإسلامية التي حتى ذلك الحين شملت البنايات البسيطة بالزينة الشاملة، حوّلت من قبل العثمانيين من خلال مفردات معمارية ديناميكية مثل المدافن والقباب.

الفترة العثمانية المبكرة
تشكل الفترة الواقعة بين عام 1299 وعام 1453 الفترة العثمانية المبكرة أو الأولى، حينها كان الفن العثماني ما يزال يبحث عن أفكار جديدة. شهدت هذه الفترة ثلاثة أنواع من المساجد هي: مساجد متعددة المستويات والمساجد وحيدة القبة والمساجد منحنية الزوايا. يُعد مسجد حاجي أوزبك في إزنيق (1333) أول مركز مهم للفن العثماني وهو أول مثال على مسجد عثماني ذو قبة واحدة.

فترة بورصة (1299- 1437)
تطور النمط المعماري المقبب من بورصة وأدرنة. كان المسجد المقدس في بورصة أول مسجد سلجوقي يُحول إلى مسجد مقبب. كانت أدرنة آخر عاصمة عثمانية قبل إسطنبول، وفيها نشهد المراحل النهائية في التطور المعماري التي بلغت ذروتها في بناء مساجد إسطنبول العظيمة. تُعتبر بعض المباني التي شُيدت في إسطنبول خلال الفترة الواقعة بين الاستيلاء على المدينة وبناء مسجد بيازيد الثاني في إسطنبول، أعمالًا متأخرة من الفترة المبكرة تمتزج فيها أعمال الفترة الكلاسيكية مع تأثيرات فترة بورصة. من بينها مسجد الفاتح (1470) ومسجد محمود باشا وكشك البلاط وقصر طوب قابي. دمج العثمانيون المساجد في المجتمع وأضافوا إليها مطابخ الحساء والمدارس اللاهوتية والحمامات التركية والمقابر.

الفترة الكلاسيكية (1437- 1703)
تُعد الفترة الكلاسيكية للعمارة العثمانية تطورًا للنهج السابقة إلى حد كبير، لأنها تطورت على مدار القرن الخامس عشر وأوائل القرن السادس عشر، وترتبط بداية الفترة الكلاسيكية ارتباطًا وثيقًا بأعمال ميمار سنان. شهدت العمارة العثمانية في هذه الفترة وخاصة بأعمال المعماري سنان والأعمال التي تأثرت به، توحيدًا جديدًا ومواءمة بين الأجزاء والعناصر والتأثيرات المعمارية المختلفة التي استوعبتها العمارة العثمانية سابقًا ولكنها لم تتوافق بعد مع ما يُعرف بالكل الجامع. كما من قبل، كانت العمارة الكلاسيكية العثمانية التي استمدت بشكل كبير من التقليد البيزنطي ولاسيما من آيا صوفيا، مزيجًا توفيقيًا من العديد من التأثيرات والتكيفات للاحتياجات العثمانية. استخدمت المساجد الكلاسيكية التي صممها سنان وأولئك الذين جاؤوا من بعده في ما قد يكون الأكثر رمزية بالنسبة للمباني، هيكلًا قائمًا على القبة على غرار هيكل آيا صوفيا، إلا أن النسب تغيرت، وفُتح الجزء الداخلي من الهيكل وتحرر من الأعمدة والعناصر الهيكلية الأخرى التي حُطمت داخل آيا صوفيا وغيرها من الكنائس البيزنطية الأخرى مما أضاف المزيد من الضوء، مع التركيز بشكل أكبر على استخدام الإضاءة والظل وأحجام أكبر من النوافذ. جاءت هذه التطورات في حد ذاتها مزيجًا من التأثر بكنيسة آيا صوفيا والهياكل البيزنطية المماثلة، ونتيجة لتطورات العمارة العثمانية منذ عام 1400 فصاعدًا والتي، على حد قول جودفري جودوين، «حققت بالفعل التفاعل الشاعري بين التصميمات الداخلية المظللة والمضاءة بنور الشمس الذي أسعد لو كوربوزييه».

تغيرت مخططات المسجد خلال الفترة الكلاسيكية وشملت أفنية داخلية وخارجية، وكان الفناء الداخلي عنصرًا لا يمكن فصله عن المسجد. وُلد المعماري الرئيسي للفترة الكلاسيكية المعروف باسم سنان في عام 1489/1490 في قيصرية، وتوفي في إسطنبول في عام 1588. بدأ سنان حقبة جديدة في العمارة العالمية، إذ أنشأ 334 مبنى في مدن مختلفة. كان جامع شاهزاده أول عمل مهم لسنان وقد انتهى بناؤه في عام 1548. يُعد جامع سليمان القانوني والمجمع المحيط به في أدرنة العمل الثاني المهم له الذي بناه لسليمان القانوني. بُني جامع السليمية في أدرنة في الفترة الواقعة بين عامي 1465 و1568، عندما كان سنان في بدايته المعمارية. من بين أشهر أعمال سنان جامع رستم باشا وجامع مهرماه سلطان (أدرنة قابي) وجامع هديم إبراهيم باشا وأضرحة شاهزاده والسلطان سليمان القانوني وركسلانا وسليم الثاني. استمدت معظم الأفكار المعمارية في الفترة الكلاسيكية من العمارة البيزنطية في البلقان المجاورة واعتبرتها قاعدة لها، ثم أُضيفت عناصر عرقية لخلق أسلوب معماري مختلف.

يمكن رؤية أمثلة على العمارة العثمانية في الفترة الكلاسيكية بمعزل عن تركيا في البلقان والمجر ومصر وتونس والجزائر العاصمة، حيث بُنيت المساجد والجسور والنوافير والمدارس.

فترة التغريب
حلت فترة من السلام في عهد أحمد الثالث (1703- 1730) وفي إطار الزخم الذي قدمه وزيره الأكبر إبراهيم باشا. بدأت حينها العمارة العثمانية تتأثر بأساليب الباروك والروكوكو التي كانت شائعة في أوروبا بسبب العلاقات مع فرنسا. لوحظ أول تطوير لأسلوب الباروك عند السلاجقة الأتراك وذلك بحسب ما جاء به عدد من الأكاديميين، ويمكن مشاهدة الأمثلة على ذلك في مستشفى وجامع ديوريغي الذي يُعد موقعًا للتراث العالمي من قبل اليونسكو، ومن خلال كل من مدرسة سيواس ثنائية المئذنة ومتحف قونية ذو المئذنة الرفيعة وغيرها الكثير. غالبًا ما يُطلق عليها البوابة السلجوقية الباروكية. ظهرت بعدها مرة أخرى في إيطاليا وازدادت شعبيتها فيما بعد بين الأتراك خلال العصر العثماني. أُرسل العديد من الزوار والمبعوثين إلى المدن الأوربية وخاصة إلى باريس لتجربة العادات والحياة الأوروبية المعاصرة. أثرت العناصر الزخرفية للباروك الأوروبي والروكوكو على العمارة الدينية العثمانية. من ناحية أخرى، دعت أخت السلطان سليم الثالث أنطوان إغنايس ميلينج إلى إسطنبول، وهو معماري فرنسي صوّر شواطئ البوسفور وقصور المتعة (يالي) التي تقع بجوار البحر. تحولت جميع الأنظار إلى الغرب خلال فترة ثلاثين عامًا عُرفت باسم عصر الخزامى، وبدلًا من الأعمال الأثرية والكلاسيكية، بُنيت الفلل وأجنحة العرض حول إسطنبول. مع ذلك، استمر في هذا الوقت بناء قصر إسحاق باشا في شرق الأناضول (1685- 1784).

عصر الخزامى (1703- 1757)
بدأت الطبقة العليا والنخبة في الإمبراطورية العثمانية بدءًا من هذه الفترة باستخدام المناطق المفتوحة والعامة بشكل متكرر، وبالتالي أخذت الطريقة التقليدية والمنطوية للمجتمع تتغير. أصبحت سبل المياه وغيرها من المنشآت المائية مثل جناح آينالي كواك رائجة. أُنشئت قناة مائية ومنطقة نزهة (كاغد خانة) باعتبارها مناطق ترفيهية. أصبح عصر الخزامى نموذجًا لاتجاهات الغرب، على الرغم من أنه انتهى بانتفاضة باترون هليل. انحرفت العمارة العثمانية عن مبادئ العصور الكلاسيكية خلال السنوات بين عامي 1720 و1890. تولى محمود الأول العرش (1730- 1754) بعد وفاة أحمد الثالث، وخلال هذه الفترة بدأ بناء المساجد على الطراز الباروكي.

فترة الباروك (1757- 1808)
سادت خلال هذه الفترة الخطوط الدائرية والمموجة والمنحنية. من الأمثلة الرئيسية على ذلك جامع نور عثمانية وجامع لاله لي وجامع زينب سلطان وقصر تشاكيرا. كان محمد طاهر المعماري المهم في تلك الحقبة. أُعيد بناء الأضرحة التي تضم قبر يسوع داخل كنيسة القيامة في القدس، وهو أقدس موقع في العالم المسيحي في عام 1810 على الطراز الباروكي العثماني.

فترة الإمبراطورية (1808- 1876)
من الأمثلة الهامة التي طُورت بالتزامن مع عملية التغريب الحاصلة، جامع النصرتية وجامع أورطة كوي وقبر السلطان محمود وجالاتا لودج من مولوية الدراويش وقصر طولمة باغجة وقصر جراغان وقصر بكلربكي وسعد الله باشا يالي وثكنات كوليلي وثكنات السليمية. كان المعماريون الرائدون في تلك الفترة من عائلة باليان والأخوة فوساتي.

معرض صور

انظر أيضا
 قائمة مساجد السلالة العثمانية.

المصادر

 Behrens-Abouseif, Doris (1989). Islamic Architecture in Cairo: An Introduction. Leiden ; New York : E.J. Brill,. p. 29. ISBN 90-04-08677-3. http://books.google.com/books?vid=ISBN9004096264&id=INsmT6zjAl8C&pg=RA1-PA29&lpg=RA1-PA29&ots=MylVlT4ry8&dq=Ottoman+Architecture&sig=5MqKU9U_Fj_gRDoqUlOC_eWesvA. Retrieved on 2007-08-20.
 Hoag, John D (1975). Islamic architecture. London: Faber. ISBN 0-571-14868-9.
 Aslanapa, Oktay (1971). Turkish art and architecture. London: Faber. ISBN 0-571-08781-7.

طرز معمارية
عمارة العصور الوسطى
عمارة القرن 14
عمارة القرن 15
عمارة القرن 16
عمارة القرن 17
عمارة القرن 18
عمارة القرن 19
عمارة القرن 20
عمارة إسلامية
عمارة تركية

عمارة عثمانية


Tom Jones  este un film britanic de comedie din 1963 regizat și co-produs de Tony Richardson. Rolurile principale au fost interpretate de actorii Albert Finney, Susannah York și Hugh Griffith. A câștigat Premiul Oscar pentru cel mai bun film. Scenariul este scris de John Osborne după romanul Tom Jones (1749) de Henry Fielding.

Prezentare

Distribuție
 Albert Finney - Tom Jones
 Susannah York - Sophie Western
 Hugh Griffith - Squire Western
 Edith Evans - Miss Western
 Joan Greenwood - Lady Bellaston
 Diane Cilento - Molly Seagrim
 George Devine - Squire Allworthy
 David Tomlinson - Lord Fellamar
 Rosalind Atkinson - Mrs. Millar
 Wilfrid Lawson - Black George
 Rosalind Knight - Mrs. Fitzpatrick
 Jack MacGowran - Partridge
 Freda Jackson - Mrs. Seagrim
 David Warner - Blifil (debut)
 Joyce Redman - Mrs. Waters/Jenny Jones
 James Cairncross - Parson Supple
 Rachel Kempson - Bridget Allworthy
 Peter Bull - Thwackum
 Angela Baddeley - Mrs. Wilkins
 George A. Cooper - Fitzpatrick
 Jack Stewart - MacLachlan
 Patsy Rowlands - Honour
 John Moffatt - Square
 Avis Bunnage - Innkeeper
 Mark Dignam - Lieutenant
 Michael Brennan - Jailer at Newgate
 Lynn Redgrave - Susan
 Redmond Phillips - Lawyer Dowling
 Julian Glover - Northerton

Note

Legături externe

Filme din 1963
Filme britanice
Filme în limba engleză
Filme regizate de Tony Richardson
Filme premiate cu Oscar
Filme de comedie din anii 1960
Filme de comedie britanice
Filme de capă și spadă
Filme bazate pe literatură

Tom Jones (film)


Rúbínn er eðalsteinn, í lit bleikur, fjólublár eða rauður, sem er tegund af kórund sem aftur er gerður úr áloxíði.

Rauði liturinn er til kominn vegna nokkurs magns af krómi.

Nafnið kemur einfaldlega frá latínu fyrir rauður - ''ruber'.

Rúbínn er mjög sjaldgæfur í náttúrúnni en má framleiða með nútíma iðnaðarháttum.

Eðalsteinar

Rúbínn


Podsavezna nogometna liga Slavonski Brod (također i kao Liga Nogometnog podsaveza Slavonski Brod) je bila liga četvrtog stupnja nogometnog prvenstva Jugoslavije u sezoni 1961./62. Sudjelovalo je 8 klubova, a prvak je bio "Hajduk" iz Sijekovca.

Ljestvica

 "Hajduk" iz Sijekovca – klub iz Bosne i Hercegovine

Rezultatska križaljka

 Izvori:

Unutrašnje poveznice
 Slavonska zona 1961./62.
 Podsavezna liga Našice 1961./62
 Podsavezna liga Nova Gradiška 1961./62.
 Podsavezna liga Osijek 1961./62.
 Podsavezna liga Slavonska Požega 1961./62.
 Podsavezna liga Vinkovci 1961./62.

Vanjske poveznice

Izvori

 Godišnjak FSJ 1961-62, Beograd, 1962., ISSN: 0351-2894, str. 201

1961-62 Slavonski Brod
Slavonski Brod
1961-62 Slavonski Brod

Podsavezna nogometna liga Slavonski Brod 1961./62.


Territorio del Ohio o Valle del Ohio son las denominaciones con las que se conocía en el siglo XVIII a la región de América del Norte situada al oeste de los Apalaches en la región del curso alto del río Ohio, al sur del Lago Erie. Una de las primeras regiones fronterizas de Estados Unidos, se extendía por los actuales estados de Ohio, este de Indiana, oeste de Pensilvania y noroeste de Virginia Occidental. Las disputas entre los franceses y los británicos por su posesión fue la causa principal del estallido de la Guerra Franco-india, mientras que el establecimiento de colonos americanos en la región se convirtió en un factor detonante de la Guerra de Independencia de los Estados Unidos.

Enlaces externos
 Ohio History Central: The Ohio Country
 Ohio Territory Grant Map
 National Archives: Historical Documents Celebrating the 200th Anniversary of Ohio Statehood
 Ohio Division of Geological Survey: Map of Original Land Subdivisions of Ohio

Antiguas regiones y territorios de Estados Unidos
Historia de Ohio

Territorio del Ohio


Acıgöl aşağıdaki anlamlara gelebilir:

 Acıgöl (Mısır), Mısır'da, Süveyş Kanalı üzerinde yer alan göl
 Acıgöl (İran), İran'ın Türkmen Sahra Bölgesinde, Gülistan Eyaletinde göl
 Acıgöl, Nevşehir, Nevşehir ili ilçesi
 Acıgöl maarı
 Acıgöl, Türkiye'de, Göller Yöresi'nin kuzeybatı kenarında, Afyon'un Dazkırı ilçesinin güneyinde göl
 Acıgöl (Konya), Konya ili Karapınar ve Ereğli ilçeleri arasında ve Karapınar'ın doğusunda yer alan göl
 Acıgöl (Aksaray), Aksaray ili, Gülağaç ilçesi sınırlarındaki volkanik göl.

Acıgöl (anlam ayrımı)


The Wallace Collection is a museum in London occupying Hertford House in Manchester Square, the former townhouse of the Seymour family, Marquesses of Hertford. It is named after Sir Richard Wallace, who built the extensive collection, along with the Marquesses of Hertford, in the 18th and 19th centuries. The collection features fine and decorative arts from the 15th to the 19th centuries with important holdings of French 18th-century paintings, furniture, arms and armour, porcelain and Old Master paintings arranged into 25 galleries. It is open to the public and entry is free.

It was established in 1897 from the private collection mainly created by Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who left both it and the house to his illegitimate son Sir Richard Wallace (1818–1890), whose widow Julie Amelie Charlotte Castelnau bequeathed the entire collection to the nation.  The collection opened to permanent public view in 1900 in Hertford House, and remains there to this day. A condition of the bequest was that no object should ever leave the collection, even for loan exhibitions. However in September 2019, the board of trustees announced that they had obtained an order from the Charity Commission for England & Wales which allowed them to enter into temporary loan agreements for the first time.

The United Kingdom is particularly rich in the works of the ancien régime, purchased by wealthy families during the revolutionary sales, held in France after the end of the French Revolution.  The Wallace Collection, Waddesdon Manor and the Royal Collection, all three located in the United Kingdom, are some of the largest, most important collections of French 18th-century decorative arts in the world, rivalled only by the Musée du Louvre, Château de Versailles and Mobilier National in France. The Wallace Collection is a non-departmental public body and the current director is Xavier Bray.

History

The Wallace Collection is a museum which displays works of art collected in the 18th and 19th centuries by five generations of a British aristocratic family – the first four Marquesses of Hertford and Sir Richard Wallace, the illegitimate son of the 4th Marquess.  In the 19th century, the Marquesses of Hertford were one of the wealthiest families in Europe. They owned large properties in England, Wales and Ireland, and increased their wealth through successful marriages.  Politically of lesser importance, the 3rd and 4th Marquess and Sir Richard Wallace became leading art collectors of their time.

The Wallace Collection, comprising about 5,500 works of art, was bequeathed to the British nation by Lady Wallace in 1897.The state then decided to buy Hertford House to display the collection and it was opened as a museum in 1900. As a museum the Wallace Collection's main strength is 18th-century French art: paintings, furniture, porcelain, sculpture and gold snuffboxes and 16th- to 19th-century paintings by such as Titian, Van Dyck, Rembrandt, Hals, Velázquez, Gainsborough and Delacroix, a collection of arms and armour and medieval and Renaissance objects including Limoges enamels, maiolica, glass and bronzes.  Paintings, furniture and porcelain are displayed together in the manner of private collections of the 19th century.

Building

Hertford House, Cannon Row
The 16th- and 17th-century Hertford House was the London townhouse  of Edward Seymour, 1st Earl of Hertford (1539–1621) and was in a different location: Cannon Row in Westminster. His father Edward Seymour, 1st Duke of Somerset (executed 1552), brother of Queen Jane Seymour, had started building the palatial Somerset House on the Strand as his townhouse, but did not live to see its completion.

Hertford House, Manchester Square

The present House in Manchester Square was the townhouse of a later junior branch of the family. It was built in 1776 by George Montagu, 4th Duke of Manchester who owned and developed the surrounding estate. It dominates the north side of the Square, where it occupies an island site, and was originally named "Manchester House". After being used as the Spanish Embassy 1791–1795 (evidenced by "Spanish Place" the street to the east of the building) the lease was acquired in 1797 by Francis Ingram-Seymour-Conway, 2nd Marquess of Hertford (1743–1822), who in 1814 held there the Allied Sovereigns' Ball after the first defeat of Napoleon in 1814. Francis Seymour-Conway, 3rd Marquess of Hertford (1777–1842), the family's first great art collector, lived mainly at his other London residences, Dorchester House in Mayfair and St Dunstan's Villa in Regents Park, now the site of the residence of the US Ambassador. Between 1836-51 Hertford House was let for use as the French Embassy. His son Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), who expanded his father's art collection, lived most of his life in Paris, and rarely visited Hertford House, used "largely as a store for his ever-expanding art collection". He is said never to have visited his principal English country seat of Ragley Hall in Warwickshire. The 4th Marquess died in 1870, aged 70 in Paris, unmarried and without legitimate issue, and his titles and entailed estates, including the lease of Hertford House, passed to his distant cousin Francis Seymour, 5th Marquess of Hertford (1812–1884). However the 4th Marquess's illegitimate son and heir of his unentailed estate, Sir Richard Wallace, 1st Baronet (1818–1890), inherited his art collection, French and Irish estates, and re-purchased Sudbourne Hall in Suffolk and in 1871 the lease of Hertford House from the 5th Marquess, and returned from Paris with much of the art collection to take up residence in England, following the unstable political climate in France following the Prussian Siege of Paris (1870–1871). Wallace in turn expanded the art collection, adding medieval and Renaissance objects and European arms and armour. Between 1872–1882 the house was much altered by Sir Richard Wallace, who added a rear extension to house his art collection with a smoking room lined with Minton tiles in Turkish style. Under the architect Thomas Ambler a new front portico was added in the form of a porte-cochère, with large Doric pilasters, storeys were added to both wings and the stables and coach house were converted to galleries by the addition of top-lit roofs. The whole building was given a red brick facade and the windows were altered. Wallace bequeathed all his assets to his wife, who in turn and most probably according to his wishes, bequeathed the main part of her husband's art collection to the nation, thus forming the "Wallace Collection", the rest, including the French properties and Hertford House, going to the couple's secretary Sir John Murray Scott, 1st Baronet. Scott sold the lease of Hertford House to the UK Government, as a suitable home for the Wallace Collection, after which he was rewarded with a baronetcy, and the Government acquired the freehold from the Portman Estate. Hertford House first opened as a museum on 22 June 1900. In 2000, the inner courtyard was given a glass roof and a restaurant was opened named "Cafe Bagatelle" after the Château de Bagatelle in Paris purchased in 1835 by Francis Seymour-Conway, 3rd Marquess of Hertford, later part of Scott's inheritance. The museum display does not aim to reconstruct the state of the house when Sir Richard and Lady Wallace lived here.

Interior

Ground Floor

Hall

The Entrance Hall contains marble busts of the three principal founders of the Wallace Collection: Richard Seymour-Conway, 4th Marquess of Hertford (1800–1870), his son, Sir Richard Wallace (1818–1890) and in the lobby, Lady Wallace, who bequeathed the contents of Hertford House to the British nation on her death in 1897. The room has retained the aspect it had in Sir Richard Wallace's day more than any other room in the building.

Front State Room
This room reveals the opulence of the London town house in the 1870s and sets the scene for visitors to the Wallace Collection. The State Rooms were the grandest rooms in the house, in which the most important visitors were received. When it was the home of Sir Richard and Lady Wallace, visitors to Hertford House first entered the Front State Room, then, as now, hung with portraits. Some of the modern furniture seen in the room in 1890 is no longer in the collection, but the mounted porcelain displayed on the cabinets and the chandelier, made by Jean-Jacques Caffiéri, have been returned to the room.

Back State Room
Displays: The Rococo at the time of Louis XV and Madame de Pompadour

The Back State Room is today dedicated to the patronage of King Louis XV (1715–1774) and his mistress, Madame de Pompadour. It displays some of the prominent examples in the Wallace Collection of art in the rococo style. Sir Richard Wallace used the Back State Room to entertain guests at Hertford House. During his lifetime it had wooden boiserie panelling on the wall; the great chandelier, by Jacques Caffiéri, dating from 1751, remains in the room.

Dining Room
Displays: Eighteenth-century still lifes and portraits

The room contains masterworks of French 18th-century portraiture by Nattier and Houdon and two oil sketches by Jean François de Troy, for decoration of Louis XV's dining room in Fontainebleau, shown to the king for approval.

Billiard Room
Displays: The Decorative Arts under Louis XIV

Breakfast Room
Displays: Visitor Reception and Cloakroom

This room was formerly Sir Richard and Lady Wallace's breakfast room.  As this photograph from c. 1890 shows, it contained a large cabinet filled with Sèvres porcelain dinner wares, probably more for use than decoration, and sixteen Dutch pictures.  The French chimneypiece in this room was made in the mid-18th century and installed in this room when the house was modified for Sir Richard and Lady Wallace.

Housekeeper's Room
Displays: Wallace Collection Shop

This room was occupied during Sir Richard and Lady Wallace's lifetime by the family's housekeeper.  Lady Wallace's housekeeper was Mrs Jane Buckley, a Londoner by birth.  There were over thirty servants, including housemaids, kitchen maids, a lady's maid, a butler, footmen, a valet, coachmen, a groom and stable lads.

Oriental Armoury
Displays: East European, Turkish and Indo-Persian Arms, Armour and Works of Arts

The Oriental arms and armour in the Wallace Collection were largely collected by the 4th Marquess of Hertford in the 1860s, the last decade of his life. Like many of his contemporaries, Sir Richard Wallace used this material to bring Oriental exoticism, as it was then considered, into his fashionable London house. The Oriental Armoury was displayed on the first floor of Hertford House. Trophies of arms and armour from India, the Middle East, the lands of the old Ottoman Empire, and the Far East, patterned the walls of the Oriental Armoury, whilst the ceiling was decorated with a pattern of gold stars on a deep blue background.

European Armoury IDisplays: Medieval and Renaissance Arms and Armour (tenth to sixteenth centuries)Sir Richard Wallace acquired most of his European armour in 1871, when he bought the collections of the comte Alfred Emilien de Nieuwekerke, Minister of Fine Arts to Napoleon III and director of the Louvre, as well as the finest parts of the collection of Sir Samuel Rush Meyrick, a pioneering collector and scholar of arms and armour. The arms and armour collections are today recognised as among the finest in the world. During Sir Richard Wallace's lifetime, this room formed part of the stables with the grooms' bedrooms on a mezzanine floor. Sir Richard's European arms and armour were displayed in one large gallery, today's West Gallery III, on the first floor, directly above European Armoury I.

European Armoury IIDisplays: Renaissance Arms and Armour (fifteenth to seventeenth centuries)The Wallace Collection contains some of the most spectacular Renaissance arms and armour in Britain. All of the richest and most powerful noblemen of the 15th, 16th and 17th centuries commissioned beautifully decorated weapons and armour, not just for war, but also for use in the awe-inspiring jousts, tournaments and festivals of the time. Fine arms and armour were considered works of art as much as warlike equipment.  Displayed in this gallery are some of the finest examples of the armourer's art, exquisite sculptures richly embellished with gold and silver. This space was formerly part of Sir Richard Wallace's stables.

European Armoury IIIDisplays: Later Arms and Armour (sixteenth to nineteenth centuries)The array of sporting guns, rifles and pistols in this room includes a large number of extravagantly decorated 16th- and early-17th-century wheel-lock firearms, together with an impressive group of magnificent civilian flint-lock guns of the Napoleonic era. Several of the weapons here were made for European rulers, including Louis XIII and Louis XIV of France and Tsar Nicholas I of Russia. It is a major collection of early firearms in the United Kingdom. This space was formerly part of Sir Richard Wallace's coach house and stable yard.

Sixteenth-Century GalleryDisplays: The Collector's CabinetThe Sixteenth-Century Gallery houses works of art from the Medieval and Renaissance periods and a group of important Renaissance paintings. This part of the Wallace Collection was mainly assembled by Sir Richard who, like many 19th-century collectors, was fascinated by the art and history of Europe during the Middle Ages and Renaissance. The Sixteenth-Century Gallery comprised two smaller rooms during Sir Richard and Lady Wallace's lifetime. The contemporary photograph shows how one room was arranged by Sir Richard as a cabinet of curiosities, with paintings and maiolica densely hung on the walls and smaller works of art kept in cases or inside Renaissance cabinets. The other room, known as the Canaletto Room, was used to display the collection of paintings by Canaletto.

Smoking RoomDisplays: Medieval and Renaissance Works of ArtThe Smoking Room exhibits paintings and works of art from the Medieval and Renaissance periods, including the greater part of Sir Richard Wallace's collection of Italian Renaissance maiolica. Sir Richard Wallace would have invited his male guests to the Smoking Room after dinner, to discuss affairs of the day over an enjoyable pipe or cigar. The room had oriental interiors, with walls lined with Turkish-style tiles made by the Minton factory in Stoke-on-Trent, the floor laid with a patterned mosaic. A small section of this interior survives in the alcove at the north end of the room. This was not only a highly fashionable look for a late Victorian smoking room but also practical, ensuring the smell of smoke did not linger in any fabric furnishings.

Upper Floor
Landing
The Landing serves as the main orientation point on the first floor.  It is hung with mythological and pastoral paintings by Boucher and is also perhaps the best place to admire the wrought iron work of the staircase balustrade, made in 1719 for the Royal bank in Paris. Hertford House was built in 1776–78 for the 4th Duke of Manchester. After a brief spell as the Spanish Embassy, it was bought by the 2nd Marquess of Hertford in 1797.  He added the conservatory, in place of a Venetian window on the Landing and two first-floor rooms on each wing.

Lower Ground Floor
Porphyry Court
The Porphyry Court was little more than a rather dismal back yard until 2000, when it was transformed by being doubled in size and provided with a dramatic pair of flights of stairs.

Collections
The Collection numbers nearly 5,500 objects, a range of fine and decorative arts from the 15th to the 19th centuries.  The collection is known for its 18th-century French paintings, Sèvres porcelain and French furniture but also displays other objects, such as arms and armour featuring both European and Oriental objects, as well as displays of gold boxes, miniatures, sculpture and medieval and Renaissance works of art such as maiolica, glass, bronzes and Limoges enamels.

The works of art in the Collection comprise:
Paintings, watercolours and drawings 775
Furniture 528
Ceramics 510
European and Oriental arms and armour 2,370
Sculpture 466
Miniatures 334
Medieval and Renaissance works of art 363
Goldsmiths' work 120

Departments

The Wallace Collection is split into six curatorial departments: Pictures and Miniatures; Ceramics and Glass; Sculpture and Works of Art; Arms and Armour; Sèvres porcelain; and Gold Boxes and Furniture.

Pictures and miniatures
The Wallace Collection's Old Master paintings are some of the most prominent in the world, and date from the 14th to the mid-19th centuries. The highlights include Dutch and Flemish paintings of the 17th century, 18th- and 19th-century French paintings, and works by English, Italian and Spanish artists. Strengths of the collection include 5 Rembrandts (and school), 9 Rubens's, 4 Van Dycks, 8 Canalettos, 9 Guardis, 19 François Bouchers, Fragonard, 9 Murillos, 9 Teniers, 2 Titians, Poussin, 3 Velázquezs and 8 Watteaus. The inventory of pictures, watercolours and drawings comprises all the major European schools.

Paintings, drawing and watercolours in the collection
 British, German, Spanish, and Italian – 151 paintings, 60 drawings
 French (19th century) – 134 paintings, 57 watercolours
 French (before 1815) – 144 paintings, 8 drawings and watercolours
 Dutch – 173 paintings, 2 drawings
 Flemish – 8 paintingsDutch School:Ferdinand Bol – 1 painting
Gerard ter Borch – 2 paintings
Aelbert Cuyp – 5 paintings
Gerrit Dou – 1 painting
Frans Hals – 1 painting
Bartholomeus van der Helst – 1 painting
Meyndert Hobbema – 5 paintings
Melchior d'Hondecoeter – 3 paintings
Pieter de Hooch – 2 paintings including A Boy Bringing Bread and A Woman Peeling ApplesGabriel Metsu – 5 paintings

Adriaen van Ostade – 2 paintings
Isack van Ostade – 2 paintings
Rembrandt – 5 paintings
Jacob Isaakszoon van Ruisdael – 4 paintings
Frans Snyders – 1 painting
Jan Steen – 5 paintings
Adriaen van de Velde – 2 paintings
Willem van de Velde the Younger – 8 paintings
Jan Weenix – 13 paintings
Philips Wouwerman – 6 paintingsEnglish SchoolThomas Gainsborough – 2 paintings
John Hoppner – 1 painting
Sir Edwin Landseer – 4 paintings
Thomas Lawrence – 5 paintings
Joshua Reynolds – 12 paintings
J. M. W. Turner – 4 paintingsFlemish SchoolHans Memling – 1 painting
Pieter Pourbus – 1 painting
Pourbus the Elder, Frans – 1 painting
Peter Paul Rubens – 9 paintings
David Teniers the Younger – 9 paintings
Anthony van Dyck – 4 paintingsFrench School:François Boucher – 17 paintings (one of the largest holdings of his works in the world)
Philippe de Champaigne – 4 paintings
Jean-Baptiste-Camille Corot – 1 painting
Eugène Delacroix – 2 paintings including The Execution of the Doge Marino FalieroHippolyte Delaroche – 12 paintings
Gaspard Dughet – 1 painting
Jean-Honoré Fragonard – 8 paintings including his masterpiece, Lady with a Swing
Théodore Géricault – 2 paintings
Jean-Baptiste Greuze – 19 paintings
Nicolas Lancret – 11 paintings

François Lemoyne – 2 paintings
Claude Lorrain – 1 painting
Jean-Marc Nattier – 3 paintings
Jean-Baptiste Oudry – 7 paintings
Jean-Baptiste Pater – 13 paintings
Nicolas Poussin – 1 painting
Jean-François de Troy – 2 paintings
Claude-Joseph Vernet – 2 paintings
Horace Vernet – 30 paintings
Jean-Antoine Watteau – 8 paintings (the 3rd largest holdings in the world)Italian SchoolFrancesco Albani – 1 painting
Canaletto, (Giovanni Antonio Canal) – 8 paintings
Giovanni Battista Cima da Conegliano – 2 paintings
Carlo Crivelli –  1 painting
(Domenichino) – 1 painting
Francesco Guardi – 9 paintings

Bernardino Luini – 4 paintings
Salvator Rosa – 1 painting (one of the finest Rosas in existence)
Andrea del Sarto – 1 painting
Titian (Tiziano Vecelli) – 2 paintings including one of the six Poise's commissioned on Philip II of Spain
Sassoferrato – 3 paintingsSpanish SchoolAlonso Cano – 1 painting
Bartolomé Esteban Murillo – 9 paintings (one of the largest holdings of his works in the world)
Diego Velázquez – 2 paintings including Lady with a Fan, one of the artist's greatest paintings

Ceramics

There are fine examples of porcelain on display, including Meissen porcelain, and one of the world's major collections of 18th-century Sèvres porcelain. It includes 137 vases, 80 tea wares, 67 useful wares, 3 biscuit figures and 130 plaques (mostly on furniture), and was acquired by the Marquesses of Hertford and Sir Richard Wallace between c. 1802–75.

Arms and armour
, Dr. Tobias Capwell is Curator of the Arms and Armour collection.

Furniture
The Wallace Collection holds one of the most important collections of French furniture in the UK, and ranks alongside the Musée du Louvre, the Royal Collection, Waddesdon Manor, the collections of the Duke of Buccleuch, the Getty Museum and the Metropolitan Museum of Art as one of the greatest and most celebrated in the world. Totalling more than five hundred pieces, the collection consists largely of 18th-century French furniture but also includes some significant pieces of 19th-century French furniture, as well as interesting Italian furniture and a few English and German pieces.  The collection ranges from cabinet furniture, much of which is veneered with brass and turtleshell marquetry (commonly known as "Boulle" marquetry) or with wood marquetry, to seat furniture, clocks and barometers, gilt-bronze items including mounted porcelain and hardstones, mantelpieces, mirrors, boxes and pedestals. One highlight of the collection is the major collection of furniture attributed to André-Charles Boulle (1642–1732), perhaps the best-known cabinet-maker ever to have lived.Joseph Baumhauer – 1 item:
Bas d'armoire, c. 1765–1770André-Charles Boulle – 22 items:
Armoire, c. 1695;
Armoire, c. 1700;
Armoire, c. 1700;
Armoire, c. 1715;
Bureau plat, c. 1700–1710;
Cabinet avec son pied, c. 1667;
Cartonnier et pendule, c. 1715;
Commode, c. 1710;
Paire de grande table, c. 1705;
Mantle clock, c. 1715;
Mantle clock, c. 1726;
Médaillier, c. 1710–1720;
Miroir de toilette, c. 1713, (delivered to the Duchesse de Berry);
Paire de coffre de toilette, c. 1700;
Paire de torchéres, c. 1700–1710;
Pendule et gaine, c. 1712–1720;
Pendule et gaine, c. 1720–1725;
Table à mettre dans un trumeau, c. 1705;Martin Carlin – 4 items:
Paire de Encoignures, c. 1772;
Secrétaire à abattant, c. 1775;
Table en secrétaire, c. 1783;Adrien Delorme – 2 items:
Paire de bibliothèque basseÉtienne Doirat – 1 item:
Commode, c. 1720;Étienne Levasseur – 5 items;
Grande Bibliothèque, c. 1775;
Paire de bibliothèque basse, c. 1775
Paire de meubles à hauteur de'appui, c. 1775Alexandre-Jean Oppenord – 3 items:
Bureau plat, 1710;
Commode, c. 1695;
Écritoire, c. 1710;Jean Henri Riesener – 10 items:
Commode, delivered to Marie-Antoinette's cabinet intérieur de la reine at Versailles, c. 1780;
Commode, delivered to Marie-Antoinette for Chateau de Marly, c. 1782;
Encoignure, delivered to Marie-Antoinette's cabinet intérieur at Versailles, c. 1783;
Secrétaire à abattant, delivered to Marie-Antoinette's cabinet intérieur at Versailles, c. 1783;
Secrétaire à abattant, delivered to Marie-Antoinette's Petit Triannon at Versailles, c. 1783;
Secrétaire à abattant, delivered to Marie-Antoinette's cabinet intérieur at Versailles, c. 1780;
Bureau à cylindre, delivered to the comte d'Orsay for the Hôtel d'Orsay, c. 1774;
Bureau à cylindre, c. 1785;
Secrétaire à abattant, c. 1780–1784;
Table de toilette, c. 1780–1784;Bernard I Van Risen Burgh – 1 item:
Bureau plat, c. 1719Nicolas Sageot – 2 items:
Commode, c.1700;
Commode, c.1710;Adam Weisweiler'' – 4 items:
Paire de meubles à hauteur de'appui, c. 1780
Paire de meubles à hauteur de'appui, c. 1785–1790

Transport connections

References

Further reading

External links

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Wallace Collection


Die 1896 in Dienst gestellte Frithjof war ein kleiner Geschützter Kreuzer der norwegischen Marine, die das Schiff als Kanonenboot 1. Klasse (norw. "1. klasse kanonbåt") bezeichnete. Das Schiff wurde von 1895 bis 1896 auf der Karljohansvern Werft, der Marinehauptwerft, in Horten gebaut und war ein leicht veränderter Nachbau der 1891 gelieferten Viking. Das Schiff wurde 1908 Seekadettenschulschiff und 1928 aus der Flottenliste gestrichen.

Baugeschichte
Die norwegischen Marine entwickelte 1877 eine Verteidigungsdoktrin, die eine passive Küstenverteidigung mit Kanonenbooten in drei verschiedenen Klassen vorsah. Ihr fehlten daher hochseefähige Schiffe. Die Marinewerft in Horten baute acht Kanonenboote 2. Klasse vom Typ Rendell zwischen 1874 und 1894, beginnend mit der Uller, und vier Kanonenboote 1. Klasse, beginnend mit der Sleipner von 730 t. Das letzte gemäß dieser Doktrin gebaute "Kanonenboot 1. Klasse" war die Frithjof, die etwas größer war als die 1891 gelieferte Viking.

Diese letzten Kanonenboote, die wegen ihres Panzerdecks im Ausland als Geschützte Kreuzer bezeichnet wurden, waren kein gelungener Entwurf. Im Vergleich zu den zur gleichen Zeit entstehenden Küstenpanzerschiffen waren sie nur leicht bewaffnet und nicht hinreichend gepanzert. Für Kreuzer ihrer Größe waren sie mit nur 15 kn Höchstgeschwindigkeit zu langsam.

Die Frithjof war ein kleines Drei-Schornstein-Schiff. Ihre Bewaffnung mit zwei 12,0-cm-L/44-Armstrong-Kanonen Typ Y, vier 7,6-cm-L/40-Armstrong-Schnellfeuergeschützen Typ N, vier 3,7-cm-L/45-Hotchkiss-Maschinenkanonen und einem 45,0-cm-Bugtorpedorohr war für die Schiffsgröße recht beachtlich, allerdings waren die Maschinenleistung und die Höchstgeschwindigkeit für einen Kreuzer unzureichend. Das 32 mm starke Panzerdeck mit Platten vom Typ Harvey schützte die Maschinenräume.

Die Frithjof wurde 1908 für den Einsatz als Kadettenschiff leicht umgebaut. Eine grundlegende Modernisierung erhielt sie während ihrer Dienstzeit bis 1928 jedoch nie.

Einsatzgeschichte

Die Frithjof kam 1896 in Dienst. 1897 wurde der Kreuzer als norwegischer Vertreter zur Flottenparade auf dem Spithead anlässlich des 60sten Thronjubiläums der britischen Königin Victoria entsandt. 1900 nahm sie an dem Besuch eines norwegischen Verbandes in Kiel teil, zu dem auch das Küstenpanzerschiff Tordenskjold, der Zerstörer Valkyrjen und vier neue Torpedoboote des Typs Storm gehörten.

Bei der Loslösung Norwegens aus der Union mit Schweden 1905 kam es zu keinen Gefechten, obwohl die schwedische Marine etliche Einheiten in das Kattegat verlegte. Die vier norwegischen Küstenpanzerschiffe bildeten mit sechs Torpedobooten 1. Klasse vom Typ Hval und dem Zerstörer Valkyrjen als Führungsboot an der Südküste westlich des Oslofjord das "Skagerrak-Geschwader", um dort einen befürchteten schwedischen Angriff von See auf Oslo und die militärischen und industriellen Installationen in Ostnorwegen abzuwehren, es wurde auch eine Offensivaktion gegen Göteborg geplant. Die anderen vier Torpedoboote 1. Klasse und die beiden Kreuzer Frithjof und Viking blieben vor Bergen. Bevor es zu kriegerischen Handlungen kam, wurde eine politische Lösung gefunden. In der anschließend gebildeten norwegischen Marine wurde die Frithjof bald zum Kadettenschulschiff hergerichtet.

Im Sommer 1910 veranlasste der Polarforscher Fridtjof Nansen eine von ihm geleitete Forschungsfahrt der Frithjof in das Seegebiet östlich Grönlands zur Beobachtung der Wassertemperaturen und der Luftbewegungen. Auf der Anfahrt verbrauchte die Frithjof zu viel Kohlen und erreichte das Zielgebiet nahe 62° Nord nicht. Die ab Irland durchgeführten Messungen gaben allerdings gemeinsam mit den gleichzeitigen ozeanografischen Arbeiten auf der Fram und der Michael Sars wichtige Aufschlüsse über den Golfstrom.

Im Ersten Weltkrieg blieb Norwegen neutral und seine Marine beschränkte sich auf den Schutz der eigenen Hoheitsgewässer.

Ende der Frithjof
Nach dem Krieg wurde die Frithjof weiter als Ausbildungsschiff eingesetzt und 1928 schließlich aus der Flottenliste gestrichen.

Kanonenboote 1. Klasse
Zwischen 1874 und 1894 baute die Carljohansværn Værft in Horten insgesamt vier Kanonenboote 1. Klasse für die norwegische Marine nach unterschiedlichen Entwürfen.

Literatur
 B. Weyer: Taschenbuch der Kriegsflotten, J.F. Lehmanns Verlag, München, 1905

Weblinks

 Die Frithjof
 Die Frithjof und von der Seite 1901

Fußnoten

Militärschiff (Norwegen)
Geschützter Kreuzer
Dampfmaschinenschiff

Frithjof (Schiff, 1896)


Demons (canção de Imagine Dragons)
 Demons (canção de James Morrison)
 Demons (série de televisão)

Desambiguação

Demons


Rattlebox is a common name for several plants which have inflated fruits in which the seeds may rattle:

Crotalaria
Sesbania
Rhinanthus

See also
Rattlebush
Rattlepod
Rattleweed

Rattlebox


Orlando City SC er bandarískt knattspyrnufélag með aðsetur í Orlando. Það spilar heimaleiki sína á Exploria Stadium sem tekur 25.500 áhorfendur í sæti og er í norður-amerísku Major League Soccer deildinni.

Dagur Dan Þórhallsson spilar með félaginu.

Árangur

Tenglar
 Heimasíða félagsins

Bandarísk knattspyrnufélög
Orlando
stofnað 2013

Orlando City SC


الخط المصحفي أو خط المصاحف هو أحد الخطوط العربية كانت تكتب به المصاحف في العصر المملوكي، في القرنين الرابع عشر والخامس عشر الميلاديين.

انظر أيضاً
 خط الرقعة.
 خط الديواني.
 خط النسخ.

المراجع

خطوط عربية

خط مصحفي


Radiopostaja Novi Travnik (RPNT) bila je regionalna radijska postaja čije je sjedište u Novom Travniku, BiH. Emitirala je na hrvatskom jeziku na 98,3 MHz stereo i na internetu.

Povijest
Osnovana je 7. srpnja ratne 1992. godine. Osnivač i vlasnik bilo je Općinsko vijeće Novog Travnika. Emitirala je na FM stereo frekvenciji od 98,3 MHz. Pokrivala je područje središnje Bosne: općine Novi Travnik, Travnik, Vitez, Busovača, Kiseljak, te rubne dijelove općina Uskoplje i Zenica. Direktorica i glavna urednica bila je Ankica Jurišić.

Programsku shemu činila su informativno-političke vijesti, gospodarstvo, glazba, šport, kultura, zanimljivosti i dr. Emisije su bile domaće i strane top-liste ponedjeljkom i srijedom, Govorimo o zdravlju petkom od 12-13, Glazbeni portreti subotom, Odjeci protekloga tjedna koju su emitirali ponedjeljkom u 12 sati u kojoj su govorili o najvažnijim događajima prošlih sedam dana o kojima su izvješćivali, informativno politička emisija svakoga četvrtka u 16 sati Aktualnosti na 98,3 MHz koja je bila otvorenog tipa, tijekom čijeg trajanja mogli su se i slušatelji uključiti s pitanjima i sugestijama u razgovor s gostima u studiju. Postaja je dugi niz godina nosila prefiks "hrvatski".

14.studenog 2009. objavili su vijest da se gasi signal Radiopostaje Novi Travnik. Radiopostaja Novi Travnik bila je jedna od samo četiriju radijskih postaja na području Središnje Bosne koje program emtiraju na hrvatskom književnom jeziku. Nije ugašena zbog realnih razloga poslovanja, nego zahvaljujući političkim i inim igrama nekih lokalnih moćnika, a pod izgovorom ekonomske krize. Radi spašavanja opstanka postaje, pokrenuta je Facebook grupa za podršku, a dva dana poslije stiglo je pismo potpore postaji, u kojem je istaknuto da netko ne može podnijeti ni naziv "radiopostaja", a tako daleko se otišlo da neki ne mogu podnijeti ni postojanje medija na materinjem jeziku Hrvata. Internetski arhivi su sačuvali službene stranice radio-nt.com do veljače 2010. godine. Prosinca 2009. postaja je još bila aktivna. Do prosinca 2009. su iz općine uplaćivali po 1500 maraka mjesečno. 2009. su godine općinski načelnik Refik Lendo (u TO BiH lipnja 1992.,, zapovjednik operativne grupe Armije RBiH "Bosna" 24. lipnja 1993.) i općinsko vijeće pravdajući se teškom ekonomskom situacijom uskratili tu pomoć tvrdeći da to više nisu u mogućnosti činiti, no u postaji nisu bili uvjereni u to, nego su sumnjali da je pozadina cijele priče naziv "radiopostaja" i činjenica da se na Radiopostaji Novi Travnik služe hrvatskim književnim jezikom. Potvrda sumnjama je potez novotravničke općinske vlasti kojom su postaji iz drugog grada RTV-u Travnik kojoj je osnivač SDA dali novac, a za Radiopostaju Novi Travnik ga "nije bilo". Razlog takvom ponašanju je i nacionalno pitanje. Nakon dugo godina prvi je put imenovan ravnatelj i predsjednik UO koji nisu Hrvati, nego Bošnjaci. Najglasniji u osudi nacionalne nejednakosti na štetu Hrvata na radiju i u Općini bili su u HSS-NHI-u.

Postaja je promijenila internetsku adresu na radio-nt.net pa su preko interneta bili su aktivni na drugoj domeni još 30. prosinca 2011., dokad ju čuvaju internetski arhivi.

Pravni sljednik je postaja Drukčiji radio koja djeluje od 2013. godine.

Izvori

Vidi
 Drukčiji radio

Vanjske poveznice
 Službene stranice (arhiv) (do 2009.)
 Facebook Grupa za podršku Radio postaji Novi Travnik (arhivirana poveznica, neaktivna)

Radijske postaje na hrvatskom jeziku u Bosni i Hercegovini

Radiopostaja Novi Travnik


Peter Ehlen, SJ (* 16. Mai 1934 in Berlin; † 16. Oktober 2022 in München) war ein deutscher Philosoph. Ehlen war Professor an der Hochschule für Philosophie in München und von 1988 bis 1994 ihr Rektor.

Leben
Peter Ehlen trat 1952 in den Jesuitenorden ein und empfing nach seiner theologischen Ausbildung mit dem Philosophiestudium (lic.phil.; 1955–1958) und dem Theologiestudium (lic.theol.; 1960–1964) die Priesterweihe. Von 1965 bis 1971 studierte er an der Freien Universität Berlin Philosophie, osteuropäische Geschichte und russische Literatur. Im Jahre 1971 wurde er dort mit der Arbeit Die philosophische Ethik in der Sowjetunion: Analyse und Diskussion zum Dr. phil. promoviert.

Ehlen lehrte von 1971 bis zu seiner Emeritierung im Jahre 2002 an der Hochschule für Philosophie in München, seit 1975 als ordentlicher Professor für Geschichte der Philosophie. In den Jahren 1988 bis 1994 war er Rektor der Hochschule.

Von 1971 bis 1988 hatte er zudem die Leitung der Landesstelle Bayern der Ostakademie Königstein inne und wirkte von 1979 bis 1986 als Direktor der katholischen Ostakademie Königstein für die außerschulische politische Jugendbildung.

Ehlen starb am 16. Oktober 2022 im Alter von 88 Jahren im Rotkreuzklinikum München.

Wirken
Ehlen forschte insbesondere zur russischen Religionsphilosophie und war Mitherausgeber der Werke Simon L. Franks in deutscher Sprache.

Ehlen hatte sich intensiv mit Lehre und Philosophie von Karl Marx und in diesem Kontext auch mit ethischen Positionen in der ehemaligen Sowjetunion befasst. Durch seine Veröffentlichungen führte er an der Hochschule für Philosophie Generationen von Studierenden zu einer kritischen Auseinandersetzung mit der Philosophie des Marxismus. Mit russischen Philosophen in Moskau und St. Petersburg stand Ehlen in wissenschaftlichem Austausch.

Schriften (Auswahl)
 Die philosophische Ethik in der Sowjetunion: Analyse und Diskussion. Pustet, München, Salzburg 1972, ISBN 978-3-7916-0103-8.
 Marxismus als Weltanschauung. Die weltanschaulich-philosophischen Leitgedanken bei Karl Marx. Olzog, München/Wien 1982, ISBN 3-7892-9880-8.
 Grundfragen der Philosophie. Einübung in selbständiges Denken. Kohlhammer, Stuttgart 2000, ISBN 3-17-016616-6.
 Russische Religionsphilosophie im 20. Jahrhundert. Simon L. Frank. Alber, Freiburg/B. 2009, ISBN 978-3-495-48336-7.

Weblinks
 Peter Ehlen auf dem Internetauftritt der Hochschule für Philosophie

Einzelnachweise

Philosoph (20. Jahrhundert)
Philosoph (21. Jahrhundert)
Hochschullehrer (HfPh München)
Rektor einer Hochschule in Deutschland
Jesuit
Deutscher
Geboren 1934
Gestorben 2022
Mann

Peter Ehlen


عزبة الإصلاح الغربية قرية تابعة لمركز السادات في محافظة المنوفية في جمهورية مصر العربية.

انظر أيضاً

 مركز السادات.
 محافظة المنوفية.

قرى السادات

الإصلاح الغربية (عزبة)


Heinrich Gleissner (* 12. Dezember 1927 in Linz; † 1. Juni 2016 in Wien) war ein österreichischer Botschafter.

Leben
Heinrich Gleissner trat 1951 in den auswärtigen Dienst. Von 1953 bis 1955, von 1973 bis 1975 und von 1982 bis 1992 wirkte er im Bundeskanzleramt (Abteilung für auswärtige Angelegenheiten) bzw. im Außenministerium, zuletzt als Leiter der Abrüstungsabteilung. Seine Auslandsstationen waren
 1952 bis 1953 im Büro des Beobachters beim Europarat Straßburg
 1955 bis 1957 und von 1959 bis 1962 an der Botschaft in London
 1962 bis 1965 bei den Vereinten Nationen in Genf
 1965 bis 1973 im Generalkonsulat in New York City, davon 1966 bis 1973 als Generalkonsul
 1975 bis 1979 als Direktor des UN-Sicherheitsrates in New York City
 1979 bis 1982 als Botschafter in Großbritannien in London.

Er war Mitglied der katholischen Studentenverbindungen KÖStV Austria Wien (seit 1945) und AV Austria Innsbruck (seit 1946), jeweils im ÖCV.

Auszeichnungen
 1992: Großes Goldenes Ehrenzeichen für Verdienste um die Republik Österreich

Einzelnachweise

Österreichischer Botschafter im Vereinigten Königreich
Botschafter (Republik Österreich)
Träger des Großen Goldenen Ehrenzeichens für Verdienste um die Republik Österreich
Österreicher
Geboren 1927
Gestorben 2016
Mann
Korporierter im CV

Heinrich Gleissner


Oblasna liga Dalmacije (također i pod nazivom Grupno prvenstvo Splitskog nogometnog podsaveza) je predstavljala nogometnu ligu u sezoni 1950., čije je natjecanje organizirao Oblasni odbor Nogometnog saveza Hrvatske za Dalmaciju sa sjedištem u Splitu, a igrana je u šest skupina. Nastala je umjesto dotadašnjih zonskih liga reorganizacijom sustava i nogometnih saveza, te smanjenja troškova natjecanja.
To je bila liga šestog ranga nogometno prvenstva Jugoslavije u sezoni 1950., te rang ispod Dalmatinske lige.

I grupa

II grupa

III grupa

IV grupa

V grupa

VI grupa

Poveznice
 Treća savezna liga 1950.
 4. rang prvenstva Jugoslavije 1950.
 Nogometna liga Dalmacije 1950.

Izvori
 Martin Benzon, Slaven Jurić: Šezdeset godina NK "Omladinca" 1914. – 1974., Vranjic, 1974.

1950
1950 Dalmacija
Dalmacija

Oblasna nogometna liga Dalmacije 1950.


Kapkaç, kapıp kaçmak yoluyla yapılan bir çeşit hırsızlıktır.

Kapkaç, bir kimsenin haberi olmadan, taşınabilir eşya ve ziynetin bir veya birkaç kişi tarafından aniden kapıp kaçırılmasıdır. Her şey çok hızlı olup bittiğinden sanığın eşkalinin teşhis edilmesi çok güç olur. Kapkaç, zor kullanma ve mağdurun yaralanması halinde gasp haline dönüşür.

Hırsızlık

Kapkaç


Adam Sýkora (né le  à Piešťany en Slovaquie) est un joueur professionnel slovaque de hockey sur glace. Il évolue au poste d'attaquant. Il est le fils du joueur Roman Sýkora.

Biographie

Carrière en club
Formé au ŠHK 37 Piešťany, il rejoint les équipes de jeunes du HK Nitra. En 2020-2021, il découvre l'Extraliga slovaque avec le HK Nitra. Il est choisi au deuxième tour, en soixante-troisième position par les Rangers de New York lors du repêchage d'entrée dans la LNH 2022.

Carrière internationale
Il représente la Slovaquie au niveau international. Il prend part aux sélections jeunes.

Statistiques
Pour les significations des abréviations, voir statistiques du hockey sur glace.

En club

| 2020-2021 || HK Nitra || Extraliga slovaque || 15|| 0|| 2|| 2|| 2|| -|| -|| -|| -|| -
|-
| 2020-2021 || Slovaquie M18 || 1.liga slovaque || 13|| 3|| 6|| 9|| 6|| -|| -|| -|| -|| -
|-
| 2020-2021 || HK Levice || 1.liga slovaque || 6|| 1|| 4|| 5|| 6|| 4|| 0|| 1|| 1|| 4
|-
| 2021-2022 || HK Nitra || Extraliga slovaque || 46|| 10|| 7|| 17|| 6|| 19|| 2|| 3|| 5|| 2
|-
| 2021-2022 || Slovaquie M18 || 1.liga slovaque || 3|| 0|| 0|| 0|| 2|| -|| -|| -|| -|| -
|-
| 2022-2023 || HK Nitra || Extraliga slovaque ||  38 || 8|| 13|| 21|| 8|| 8|| 1|| 3|| 4|| 4
|-
| 2022-2023 || Wolf Pack de Hartford || LAH || 2 || 0|| 0|| 0|| 0|| 4|| 0|| 1|| 1|| 0

Au niveau international

| 2022 || align="left"| Championnat du monde moins de 18 ans || 1|| 1|| 1|| 2|| 0|| 0|| align="left"|  Médaille d'or de la division 1, groupe A
|-
| 2022 || align="left"| Championnat du monde junior || 2|| 0|| 0|| 0|| 0|| 0|| align="left"| Compétition annulée
|-
| 2022 || align="left"| Championnat du monde || 6|| 2|| 1|| 3|| 0|| +2|| align="left"| Huitième place
|-
| 2023 || align="left"| Championnat du monde junior || 5|| 1|| 0|| 1|| 0|| 0|| align="left"|  place

Références

Naissance en septembre 2004
Naissance en Slovaquie
Attaquant de hockey sur glace
Joueur international slovaque de hockey sur glace
Choix de repêchage des Rangers de New York
Joueur du HK Nitra
Joueur du Wolf Pack de Hartford

Adam Sýkora


Le Maritime & Seafood Industry Museum (MSIM) (en français : Musée de l'industrie maritime et des produits de la mer) a été créé en 1986 pour préserver et interpréter l'histoire et le patrimoine maritimes de Biloxi et de la côte du golfe du Mississippi.

Description
Il accomplit sa mission à travers une série d'expositions sur la crevette, les huîtres, la pêche récréative, les zones humides, la gestion des ressources marines, les bateaux charter, la forge marine, la construction de bateaux en bois, la fabrication de filets, les catboats/skiff Biloxi, la machine à éplucher les crevettes et de nombreuses photographies historiques et objets. Le Wade Guice Hurricane Museum  au sein du musée, comprenant  d'espace d'exposition et un théâtre à la pointe de la technologie. Le musée a donné vie à l'histoire et au patrimoine maritimes locaux en reproduisant deux goélettes Biloxi à deux mâts de près de  (65 pieds).

En août 2005, le musée a été détruit par l'ouragan Katrina. Neuf ans plus tard, un musée de 3 étages de , nouvellement construit, a ouvert ses portes au public.Reconstruction Le 2 août 2014, un nouveau musée de trois étages, contenant 20 000 pieds carrés (1 900 m2), a ouvert au public.[2]

Programmes
Le Maritime & Seafood Industry Museum parraine actuellement deux programmes par an, le Sea and Sail Adventure Camp et le Billy Creel Memorial Wooden Boat Show.

Dans le camp d'aventure Sea and Sail, les enfants âgés de 8 à 13 ans découvrent l'histoire et le patrimoine de la côte du golfe du Mississippi à travers des excursions à la voile, de pêche, d'artisanat maritime et des sorties sur le terrain dans l'industrie des fruits de mer.

Le Billy Creel Memorial Wooden Boat Show présente les bateaux en bois historiques, antiques, classiques et contemporains lors du plus grand rassemblement d'embarcations sur la côte du golfe du Mississippi.

Goélettes
Achevé en juin 2006, le Schooner Pier Complex abrite les deux répliques de goélette Biloxi pour la pêche aux huÎtres. Ces goélettes ont jadis navigué sur la côte de la fin des années 1800 au début des années 1900 ; Cependant, l'introduction de moteurs marins et les changements dans les lois sur la récolte des huîtres ont fait disparaître ces magnifiques bateaux.
 Glenn L. Swetman:
 Mike Sékul :
La jetée comprend trois pavillons, une zone de stockage pour les pièces de la goélette, des toilettes accessibles aux personnes handicapées et une plate-forme d'observation au deuxième étage. Il dispose également d'une station de pompage marine et d'un espace pour une future boutique de cadeaux et d'un espace de bureau pour les affaires de goélettes.

Galerie

Voir aussi

Notes et références

Liens internes
 Lower Mississippi River Museum
 National Mississippi River Museum & Aquarium
 Liste de musées aux États-Unis

Musée maritime au Mississippi
Musée fondé en 1986
Biloxi (Mississippi)
Histoire du Mississippi

Maritime & Seafood Industry Museum


Divlji peršin (etuza, mala kukuta, lat. Aethusa), jednogodišnji biljni rod iz porodice štitarki koji čini jedna jedina vrsta, divlji peršin (Aethusa cynapium), poznata i kao mala kukuta.

Divlji peršin otrovna je biljka raširena po gotovo cijeloj Europi, zapadnoj Aziji i sjevernoj Africi. Naraste do 80 cm. visine. Stabljika je uspravna, zelena, glatka i šuplja. Korijen bijele boje je tanak i vretenast, a listovi tamnozelene boje, nasuprotni, koji kada se smrve imaju neugodan miris.

Rod je dobio ime po kćeri Posejdona i Alkione, a ime vrste cynapium, po grčkom cyon, cynos (=pas) i apium (=celer), što bi značilo pasji celer.

Bilo je trovanja ljudi s ovom biljkom koja su završila smrtnim slučajevima, jer je biljka nalik celeru. Životinje je izbjegavaju, osim koza koje zatim daju otrovano mlijeko.

U Hrvatskoj se smatra za korov.

Podvrste
 Aethusa cynapium subsp. cynapium
 Aethusa subsp. cynapium var. agrestis Wallr.
 Aethusa cynapium subsp. elata (Hoffm.) Schübl. & G.Martens

Domaći nazivi
 divlji peršin (Hr), Domac, R., 1994,
 divlji peršun, Hirc, D., 1908,
 kokoruša, Šulek, B., 1879,
 kozji pršek, Šulek, B., 1879,
 petrožil divji, Šulek, B., 1879,
 petržil pasji, Šulek, B., 1879,
 trubelika drobna, Šulek, B., 1879,
 peršunak trolapni, Schlosser, J.C.K.; Vukotinović, Lj., 1876,
 mala kukuta, Kušan, F., 1956

Galerija

Vanjske poveznice

Izvori

Selineae
Otrovne biljke
Flora Europe
Flora Turske

Divlji peršin


Without You I'm Nothing may refer to:

Film and television
 Without You I'm Nothing (film), a 1990 film by Sandra Bernhard
 Without You I'm Nothing, an upcoming film written by and starring Robin Bain
 "Without You I'm Nothing", an episode of the TV series Ferris Bueller

Music and theatre
 Without You I'm Nothing (Placebo album), 1998
 "Without You I'm Nothing" (song), the title track
 Without You I'm Nothing (Sandra Bernhard album), 1987
 "Without You I'm Nothing", a song by Eric Saade from Saade Vol. 2
 "Without You, I'm Nothing", a song from the 1956 musical Mr Wonderful

See also
 Without You I'm Nothing, With You I'm Not Much Better, a 1988 off-Broadway show by Sandra Bernhard, basis for the album and film above
 "Sin ti no soy nada" ("Without You I'm Nothing"), a song by Amaral from Estrella de mar

Without You I'm Nothing


3. HNL – Zapad je bila jedna od četiri skupine Treće HNL u sezoni 2011./12.
Sudjelovalo je 18 klubova, a prvak je bila momčad Zeline iz Svetog Ivana zeline.
Za sezonu 2012./13. ova skupina 3. HNL je rasformirana i podijeljena na nove dvije skupine: "Zapad" i "Središte".

Sudionici

Ljestvica

Rezultatska križaljka

 Izvori:

Rezultati

Najbolji strijelci

Povezani članci
 3. HNL – Zapad
 3. HNL 2011./12.
 3. HNL – Sjever 2011./12.
 4. HNL – Zapad 2011./12.
 2. HNL 2011./12.

Vanjske poveznice

Izvori

 rsssf.com, Hrvatska 2011./12., 3. HNl
 scoresway.com, 3. HNL Zapad 2011./12., pristupljeno 3. listopada 2018.
 sportnet.hr, 3. HNL 2011./12., rezultati , pristupljeno 3. listopada 2018.
 sportnet.hr, 3. HNL 2011./12., ljestvice , pristupljeno 3. listopada 2018.

2014-15 Zapad
3 Zapad

3. HNL – Zapad 2011./12.


180 (one hundred [and] eighty) is the natural number following 179 and preceding 181.

In mathematics
180 is an abundant number, with its proper divisors summing up to 366. 180 is also a highly composite number, a positive integer with more divisors than any smaller positive integer. One of the consequences of 180 having so many divisors is that it is a practical number, meaning that any positive number smaller than 180 that is not a divisor of 180 can be expressed as the sum of some of 180's divisors. 180 is a Harshad number and a refactorable number.

180 is the sum of two square numbers: 122 + 62. It can be expressed as either the sum of six consecutive prime numbers: 19 + 23 + 29 + 31 + 37 + 41, or the sum of eight consecutive prime numbers: 11 + 13 + 17 + 19 + 23 + 29 + 31 + 37. 180 is an Ulam number, which can be expressed as a sum of earlier terms in the Ulam sequence only as 177 + 3.

180 is a 61-gonal number, while 61 is the 18th prime number.

Half a circle has 180 degrees, and thus a U-turn is also referred to as a 180.

Summing Euler's totient function φ(x) over the first + 24 integers gives 180.

In binary it is a digitally balanced number, since its binary representation has the same number of zeros as ones (10110100).

A triangle has three interior angles that collectively total 180 degrees. In general, the interior angles of an -sided polygon add to  degrees.

In religion
The Book of Genesis says that Isaac died at the age of 180.

Other
 180 is the highest score possible with three darts.

See also
 List of highways numbered 180
 United Nations Security Council Resolution 180
 United States Supreme Court cases, Volume 180
 Pennsylvania House of Representatives, District 180

References

External links

Integers

180 (number)


Core 2 — este cea de-a opta generație a arhitecturii bazate pe microprocesoare Intel x86, bazată pe o arhitectură complet nouă a procesorului. Este descendentul microarhitecturii NetBurst, care a construit majoritatea microprocesoarelor Intel încă din anul 2000. Începând cu Core 2, Intel abandonează marca Pentium, care a fost folosită începând cu 1993. În plus, seriile de dispozitive mobile și de birou (împărțite în Pentium M și Pentium 4 în 2003) sunt acum reunite.

Primele procesoare Core 2 sunt prezentate oficial pe 27 iulie 2006. La fel ca și predecesorii lor procesoarele Intel Core, ele sunt împărțite în Solo (single core), Duo (dual-core), Quad (quad-core) și Extreme (multi- sau multi-core cu viteză mare și fără deblocare). Procesoarele au primit următoarele nume de cod: Conroe (pentru sistemele de acasă), Merom (pentru computerele portabile), Kentsfield (Conroe cu patru nuclee) și Penryn (Merom, executate pe proces de 45 nanometri). Deși procesoarele Woodcrest se bazează de asemenea, pe arhitectura Core, acestea sunt disponibile sub marca Xeon. Din decembrie 2006, toate procesoarele Core 2 Duo sunt fabricate din plăci de 300 de milimetri la fabrica Fab 12 din Arizona, SUA și la Fab 24-2 în County Kildare, Irlanda.

Spre deosebire de arhitectura procesoarelor NetBurst (Pentium 4 și Pentium D), în arhitectura Core 2, accentul nu a fost pus pe creșterea frecvenței, ci pe îmbunătățirea altor parametri ai procesorului, cum ar fi cache-ul, eficiența și numărul de nuclee. Puterea acestor procesoare este semnificativ mai mică decât colecția calculatoarelor de masă Pentium. Cu un TDP de 65 W, procesorul Core 2 a avut cea mai mică disipare de putere a tuturor calculatoarelor de birou disponibile, incluzând nucleele Prescott (Intel) cu un TDP de 130 W și nuclee San Diego (AMD) cu un TDP de 89 W.

Caracteristicile principale ale procesoarelor Core 2 includ: suportă arhitectura EM64T, tehnologie pentru suportul mașinilor virtuale xander Vanderpool, bit NX, un set de instrucțiuni SSSE3. În plus, au fost implementate mai întâi următoarele tehnologii: tehnologia LaGrande, tehnologia SpeedStep îmbunătățită (EIST) și tehnologia Active Management Technology (iAMT2).

Procesoare

Conroe
Primele nuclee de procesoare Core 2 Duo, codificate Conroe și Allendale, au fost introduse pe 27 iulie 2006. Aceste procesoare sunt create folosind a 65-lea proces tehnologic în industria electronică și au fost concepute pentru calculatoare de masă, înlocuind liniile Pentium 4 și Pentium D. Intel a declarat că Conroe oferă o performanță cu 40% mai mare, cu un consum de energie mai mic de 40% comparativ cu Pentium D. Toate procesoarele Conroe au 4 MB de cache L2, cu toate acestea, jumătate din cache-ul L2 este dezactivat pentru procesoarele E6300 și E6400, astfel că sunt disponibile numai 2 MB pentru utilizarea lor.

Microprocesoare Intel x86

Intel Core 2


An Bromus erectus in uska species han Liliopsida nga ginhulagway ni William Hudson. An Bromus erectus in nahilalakip ha genus nga Bromus, ngan familia nga Poaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 B. e. condensatus
 B. e. stenophyllus

Mga kasarigan

Mga sumpay ha gawas

Bromus

Bromus erectus


Copenhagen Lions var en dansk ishockey- og skøjteklub fra København, der fra etableringen i 2014 havde hjemmbane i Østre Skøjtehal, og som flyttede til Ørestad Skøjtehal, da den åbnede i efteråret 2016. Klubben gik konkurs i 2018.

Copenhagen Lions' førstehold spillede sin første turneringskamp nogensinde den 26. september 2014 på udebane mod Gladsaxe Bears, og opgøret i 2. division øst endte med en Lions-sejr på 9-4. Holdet debuterede i 1. division den 14. september 2016 med en 5-3-sejr på udebane over IC Gentofte Stars og endte sæsonen på 14.-pladsen.

Copenhagen Lions blev erklæret konkurs den 24. januar 2018, midt i dens anden sæson i 1. division. I oktober 2018 blev 11 af klubbens tidligere bestyrelsesmedlemmer politianmeldt for pligtforsømmelse af konkursboets kurator, advokat Morten Bjerregaard, der hævdede at der var sket et misbrug af tilskudsmidler fra Københavns Kommune på grund af mangel på økonomistyring fra klubbens side. Kommunen havde anmeldt et tab på mere end 7 millioner kroner.

Kilder / eksterne henvisninger
 Copenhagen Lions

Noter

Ishockeyklubber i Danmark
Etableret i 2014
Ophørt i 2018
Sport i København
Sport på Amager

Copenhagen Lions


New-age is a genre of music intended to create artistic inspiration, relaxation, and optimism. It is used by listeners for yoga, massage, meditation, and reading as a method of stress management to bring about a state of ecstasy rather than trance, or to create a peaceful atmosphere in homes or other environments. It is sometimes associated with environmentalism and New Age spirituality; however, most of its artists have nothing to do with "New age spirituality", and some even reject the term.

New-age music includes both acoustic forms, featuring instruments such as flutes, piano, acoustic guitar and a wide variety of non-Western acoustic instruments, and electronic forms, frequently relying on sustained synth pads or long sequencer-based runs. Vocal arrangements were initially rare in the genre, but as it has evolved, vocals have become more common, especially those featuring Native American-, Sanskrit-, or Tibetan-influenced chants, or lyrics based on mythology such as Celtic legends.

There is no exact definition of new-age music. An article in Billboard magazine in 1987 commented that "New Age music may be the most startling successful non-defined music ever to hit the public consciousness".  Many consider it to be an umbrella term for marketing rather than a musical category, and to be part of a complex cultural trend.

New-age music was influenced by a wide range of artists from a variety of genres. Tony Scott's Music for Zen Meditation (1964) is considered to be the first new-age recording. Paul Horn (beginning with 1968's Inside) was one of the important predecessors. Irv Teibel's Environments series (1969–79) featured natural soundscapes, tintinnabulation, and "Om" chants and were some of the first publicly available psychoacoustic recordings. Steven Halpern's 1975 Spectrum Suite was a key work that began the new-age music movement.

Definitions
New-age music is defined more by the use and effect or feeling it produces rather than the instruments and genre used in its creation; it may be acoustic, electronic, or a mixture of both. New-age artists range from solo or ensemble performances using classical-music instruments ranging from the piano, acoustic guitar, flute, or harp to electronic musical instruments, or from Eastern instruments such as the sitar, tabla and tamboura. There is also a significant overlap of sectors of new-age music with ambient, classical, jazz, electronica, world, chillout, pop, and space music, among others.

The two definitions typically associated with the new-age genre are:

 New-age music with an ambient sound that has the explicit purpose of aiding meditation and relaxation, or aiding and enabling various alternative spiritual practices, such as alternative healing, yoga practice, guided meditation, or chakra auditing. The proponents of this definition are almost always musicians who create their music expressly for these purposes. To be useful for meditation, music must have repetitive dynamic and texture without sudden loud chords or improvisation, which could disturb the meditator. It is minimalist in conception, and musicians in the genre are mostly instrumentalists rather than vocalists. Subliminal messages are also used in new-age music, and the use of instruments along with sounds of animals (like whales, wolves and eagles) and nature (waterfalls, ocean waves, rain) is also popular. Flautist Dean Evenson was one of the first musicians to combine peaceful music with the sounds of nature, launching a genre that became popular for massage and yoga.  Other prominent artists who create new-age music expressly for healing or meditation include Irv Teibel, Paul Horn, Deuter, Steven Halpern, Paul Winter, Lawrence Ball, Karunesh, Krishna Das, Deva Premal, Bhagavan Das, and Snatam Kaur.
 Music found in the new-age sections of record stores. This is largely a definition of practicality, given the breadth of music classified as "new age" by retailers that are often less interested in finely grained distinctions between musical styles than are fans of those styles. Music that falls into this definition usually cannot be easily classified into other, more common definitions, but can contain almost any kind of music; it is more of a marketing slogan rather than musical category.

Debate and criticism

Stephen Hill, founder of Hearts of Space, considers that "many of the artists are very sincerely and fully committed to New Age ideas and ways of life". Some composers like Kitarō consider their music to be part of their spiritual growth, as well as expressing values and shaping the culture. Douglas Groothuis stated that rejection of all music labeled as "new age" would be to fall prey to a taboo mentality, as most of the music belongs to the "progressive" side of new-age music, where composers necessarily do not always have a New Age worldview.

However, it is often noted that "new-age music" is a mere popular designation that successfully sells records. J. Gordon Melton argued that it does not refer to a specific genre of music, but to music used for therapeutic or other new-age purposes. Kay Gardner considered the label "new age" an inauthentic commercial intention of so-called new-age music, saying "a lot of new age music is schlock", and how due to record sales, everyone with a home studio put in sounds of crickets, oceans or rivers as a guarantee of sales. What started as ambient mood music related with new-age activity became a term for a musical conglomeration of jazz, folk, rock, ethnic, classical, and electronica, among other styles, with the former, markedly different musical and theoretical movement.

Under the umbrella term, some consider Mike Oldfield's 1973 progressive rock album Tubular Bells one of the first albums to be referred to under the genre description of new-age. Others consider music by Greek composer Vangelis and general modern jazz-rock fusion as exemplifing the progressive side of new-age music. Other artists included are Jean-Michel Jarre (even though his electronic excursions predate the term), Andreas Vollenweider, George Winston, Mark Isham, Michael Hedges, Shadowfax, Mannheim Steamroller, Kitarō, Yanni, Enya, Clannad, Era and Enigma.

However, many musicians and composers dismiss the labeling of their music as "new age". When the Grammy Award for Best New Age Album was first created in 1987, its first winner, Andreas Vollenweider, said, "I don't have any intention to label my music... It's ridiculous to give a name to anything that is timeless". Peter Bryant, music director of WHYY-FM (90.9) and host of a new-age program, noted that "I don't care for the term... New-age has a negative connotation... In the circles I come in contact with, people working in music, 'new-age' is almost an insult", that it refers to "very vapid, dreamy kinds of dull music... with no substance or form or interest", and that the term has "stuck".

Harold Budd said, "When I hear the term 'new-age' I reach for my revolver... I don't think of myself as making music that is only supposed to be in the background. It's embarrassing to inadvertently be associated with something that you know in your guts is vacuous." Vangelis considers it to be a style that "gave the opportunity for untalented people to make very boring music". Yanni stated that "I don't want to relax the audience; I want to engage them in the music, get them interested", and that "New age implies a more subdued, more relaxed music than what I do. My music can be very rhythmic, very energetic, even very ethnic." David Van Tieghem, George Winston and Kitarō also rejected the label of new-age artist. David Lanz said that he "finally figured out that the main reason people don't like the term new age is because it's the only musical category that isn't a musical term". Andreas Vollenweider noted that "we have sold millions of records worldwide before the category new age was actually a category", and shared the concern that "the stores are having this problem with categorization".

Ron Goldstein, president of Private Music, agreed with such a standpoint, and explained that "Windham Hill was the hub of this whole thing. Because of that association, new-age has come to be perceived as this West Coast thing". However, Windham Hill's managing director Sam Sutherland argued that even the label's founders William Ackerman and Anne Robinson "shied away from using any idiomatic or generic term at all. It's always seemed a little synthetic", and they stopped making any kind of deliberate protests to the use of the term simply because it was inappropriate. Both Goldstein and Sutherland concluded that the tag helped move merchandise, and that new-age music would be absorbed into the general body of pop music within a few years after 1987.

The New York Times music critic Jon Pareles noted that "new-age music" absorbed other styles in more softer form, but those same, well-defined styles do not need the new-age category, and that "new-age music" resembles other music because it is aimed as a marketing niche—to be a "formula show" designated for urban "ultra-consumers" as status accessory; he also said the Andean, Asian and African traditional music influences evoke the sense of "cosmopolitanism", while nature in the album artwork and sound evoke the "connection to unspoiled landscapes".

Alternative terms
The borders of this umbrella genre are not well-defined, but music retail stores will include artists in the "new-age" category even if they belong to different genre, and those artists themselves use different names for their style of music.

Kay Gardner called the original new-age music "healing music" or "women's spirituality". Paul Winter,  considered a new-age music pioneer, also dismissed the term, preferring "earth music".

The term "instrumental music" or "contemporary instrumental" can include artists who do not use electronic instruments, such as solo pianist David Lanz. Similarly, pianists such as Yanni and Bradley Joseph use this term as well, although they use keyboards to incorporate layered orchestral textures into their compositions. Yanni has distinguished the music genre from the spiritual movement bearing the same name. The term "contemporary instrumental music" was also suggested by Andreas Vollenweider, while "adult alternative" by Gary L. Chappell, which was the term by which Billboard called the new-age and world-music album charts.

History
The concept arose with the involvement of professional musicians in the New-Age movement. Initially, it was of no interest to the musical industry, so the musicians and related staff founded their own small independent recording businesses. Sales reached significant numbers in unusual outlets such as bookstores, gift stores, health-food stores and boutiques, as well as by direct mail. With the demand of a large market, the major recording companies began promoting new-age music in the 1980s.

New-age music was influenced by a wide range of artists from a variety of genres—for example, folk-instrumentalists John Fahey and Leo Kottke, minimalists Terry Riley, Steve Reich, La Monte Young, and Philip Glass, classical avant-garde Daniel Kobialka, synthesizer performers Brian Eno and Pink Floyd, and jazz artists Keith Jarrett, Weather Report, Mahavishnu Orchestra, Paul Horn (beginning with 1968's Inside), Paul Winter (beginning in the mid-1960s with the Paul Winter Consort) and Pat Metheny.

Tony Scott's Music for Zen Meditation (1964) is considered to be the first new-age recording, but initially it was popular mostly in California, and was not sold nationally until the 1980s. Another school of meditation music arose among the followers of Rajneesh; Deuter recorded D (1971) and Aum (1972), which mixed acoustic and electronic instruments with sounds of the sea. Kay Gardner's song Lunamuse (1974) and first recording Mooncircles (1975), which were a synthesis of music, sexuality and Wiccan spirituality, were "new-age music before it got to be new-age music". Her A Rainbow Path (1984) embraced Halpern's theory of healing music from that time with women's spirituality, and she became one of the most popular new-age sacred-music artists. Mike Orme of Stylus Magazine writes that many key Berlin school musicians helped popularise new-age.

The 1972 Italian progressive group Celeste was the first to have created a new rock in the New Age style.

Paul Winter's Missa Gaia/Earth Mass (1982) is described as "a masterpiece of New Age ecological consciousness that celebrates the sacredness of land, sky, and sea". His work on the East Coast is considered to be one of the most important musical expressions of new-age spirituality. On the West Coast, musicians concentrated more on music for healing and meditation. The most notable early work was Steven Halpern's Spectrum Suite (1975), the musical purpose of which was described as to "resonate specific areas of the body... it quiets the mind and body", and whose title relates "to the seven tones of the musical scale and the seven colors of the rainbow to the seven etheric energy sources (chakras) in our bodies". In the 1970s his music work, and the theoretical book Tuning the Human Instrument (1979), pioneered the contemporary practice of musical healing in the United States.

In 1976 the record label Windham Hill Records was founded, with an initial $300 investment, and would gross over $26 million annually ten years later. Over the years many record labels were formed that embraced or rejected the new-age designation, such as Narada Productions, Private Music, Music West, Lifestyle, Audion, Sonic Atmospheres, Living Music, Terra (Vanguard Records), Novus Records (which mainly recorded jazz music), FM (CBS Masterworks) and Cinema (Capitol Records).

Between the intentional extremes of the U.S.' coasts are some of the most successful new-age artists, like George Winston and R. Carlos Nakai. Winston's million-selling December (1982), released by Windham Hill Records, was highly popular. Most of Nakai's work, with his first release Changes in 1983, consists of improvised songs in native North American style. During the 1990s, his music became virtual anthems for new-age spirituality.

In 1981, Tower Records in Mountain View, California added a "new age" bin. By 1985, independent and chain record retail stores were adding sections for new age, and major labels began showing interest in the genre, both through acquisition of some existing new-age labels such as Paul Winter's Living Music and through signing of so-called "new-age" artists such as Japanese electronic composer Kitarō and American crossover jazz musician Pat Metheny, both signed by Geffen Records. Most of the major record labels accepted new age artists by the beginning of the next year. In the late 1980s the umbrella genre was the fastest-growing genre with significant radio broadcast. It was seen as an attractive business due to low recording costs.

From 1982 to 1989, working on his own and with Lura Jane Geiger, Adam Geiger, a New Age composer/keyboardist, produced and sold a series of cassette tapes of New Age music on the LuraMedia recording label.

Stephen Hill founded the new-age radio show Hearts of Space in 1973. In 1983, it was picked up by NPR for syndication to 230 affiliates nationally, and a year later Hill started a record label, Hearts of Space Records. On Valentine's Day in 1987, the former Los Angeles rock radio station KMET changed to a full-time new-age music format with new call letters KTWV, branded as The Wave. During The Wave's new-age period, management told the station employees to refer to The Wave as a "mood service" rather than a "radio station". DJs stopped announcing the titles of the songs, and instead, to maintain an uninterrupted mood, listeners could call a 1–800 phone number to find out what song was playing. News breaks were also re-branded and referred to as "wave breaks". Other new-age-specialty radio programs included Forest's Musical Starstreams and John Diliberto's Echoes. Most major cable television networks have channels that play music without visuals, including channels for New age, such as the "Soundscapes" channel on Music Choice. The two satellite radio companies Sirius Satellite Radio & XM Satellite Radio each had their own channels that played new-age music. Sirius—Spa (Sirius XM) (73), XM—Audio Visions (77). When the two merged in November 2008 and became SiriusXM, the Spa name was retained for the music channel with the majority of Audio Vision's music library being used.

In 1987 was formed the Grammy Award for Best New Age Album, while in 1988 the Billboard'''s New Age weekly charts. In 1989 Suzanne Doucet produced and held the first international New-Age Music Conference in Los Angeles. By 1989, there were over 150 small independent record labels releasing new-age music, while new-age and adult-alternative programs were carried on hundreds of commercial and college radio stations in the U.S., and over 40 distributors were selling new-age music through mail-order catalogs.

In the 1990s many small labels of new-age style music emerged in Japan, but for this kind of instrumental music the terms "relaxing" or "healing" music were more popular. Enigma's Sadeness (Part I) became an international hit, reaching number one in 24 countries including UK, also number five on the US Billboard Hot 100, selling over 5 million worldwide. At the time Holland was the home of two leading European new-age labels—Oreade and Narada Media. Oreade reported that in 1997 the latest trend was "angelic" music, while Narada Media predicted that the genre would develop in the direction of world music (with Celtic, Irish and African influences). In 1995 some "new-age" composers like Kitarō, Suzanne Ciani and Patrick O'Hearn moved from major to independent record labels due to lack of promotion, diminishing sales or limited freedom of creativity.

In 2001 Windham Hill celebrated its 25th anniversary, Narada and Higher Octave Music continued to move into world and ethno-techno music, and Hearts of Space Records were bought by Valley Entertainment. Enya's "Only Time" peaked at #10 on the Billboard Hot 100 chart, while the album A Day Without Rain at #2 on the Billboard 200, being the number one new-age artist of the year.

See also

 Adult contemporary music
 Ambient music
  Biomusic (natural soundscapes and animal songs)
 List of new-age music artists
 Lounge music
 Meditation music
 Music and sleep
 New Age
 Pure Moods'', a popular 1990s new-age music compilation album.
 Sentimental ballad
 Space music
 Vaporwave

References

Sources

External links
AllMusic (New Age)
Reviews New Age

Contemporary classical music
1960s in music

New-age music


Samuel Lover, né  le  à Dublin et mort le  à Saint-Hélier, est un peintre, écrivain et musicien irlando-britannique.

Biographie
Samuel Lover naît le  à Dublin. Il est le fils d'un courtier. Il est installé à Londres en 1835.

Il est d'abord peintre de miniatures. Les miniatures qu'il expose à la Hibernian Academy sont très appréciées; le musée de Dublin en conserve une.

Plusieurs de ses chansons, dont Molly Bawn et le Trèfle à quatre feuilles, sont devenues populaires.

Il obtient aussi un grand succès en littérature. Il écrit quelques romans : Rory O'Mores (1837) ; Handy Andy (1842), et Un trésor (1844) ; diverses pièces de théâtre, et des recueils de Légendes irlandaises (1831); Chants et Ballades (1839), et Contes en vers (1858).

Il meurt le  à Saint-Hélier.

Références

Annexes

Article connexe
 Rory O'Mores

Bibliographie

 .
 .
 .

Liens externes

Naissance en février 1797
Naissance à Dublin
Écrivain britannique du XIXe siècle
Écrivain irlandais du XIXe siècle
Romancier britannique du XIXe siècle
Romancier irlandais
Peintre britannique du XIXe siècle
Peintre irlandais du XIXe siècle
Musicien britannique
Musicien irlandais
Compositeur britannique d'opéra
Compositeur irlandais d'opéra
Auteur-compositeur britannique
Auteur-compositeur irlandais
Folkloriste anglais
Folkloriste irlandais
Librettiste d'opéra
Décès en juillet 1868
Décès à Jersey
Personnalité inhumée au cimetière de Kensal Green
Décès à 71 ans

Samuel Lover


YMS steht für:
 YMS-Klasse, US-amerikanische Hilfs-Minensuchboote
 Flughafen Yurimaguas (IATA-Code), Flughafen von Yurimaguas, Provinz Alto Amazonas, Peru

yms steht für:
 Mysische Sprache (ISO-639-3-Code), Sprache der Mysier in Mysien, historische Landschaft im Nordwesten des antiken Kleinasiens

Abkürzung

YMS


بلدية بارييو ، هي إحدى بلديات منطقة كانتابريا, المصنفة على أنها مقاطعة أيضاً، في شمال إسبانيا.

يبلغ عدد سكانها 1.690 نسمة وفقاً لإحصائية سنة (2002).

مراجع

أماكن مأهولة في كانتابريا
بلديات كانتابريا

بارييو


Richard James Hieb (born September 21, 1955 in Jamestown, North Dakota) is a former NASA astronaut and a veteran of three Space Shuttle missions. He was a mission specialist on STS-39 and STS-49, and was a payload commander on STS-65. After leaving NASA he worked at AlliedSignal and Orbital before spending 14 years as an executive at Lockheed Martin. He is currently a faculty member in the University of Colorado Boulder Smead Aerospace Engineering Sciences Department.

Early life and education

Hieb's family originates from many places in Europe, and includes one line that came to the Americas in the 1600s. The name Hieb is of German origin. His mother was a long time elementary school teacher at Lincoln Elementary in Jamestown, North Dakota and his father was a transport driver before retiring and operating a small business buying and selling antiques and specialty items where he was a well-known figure at sales around eastern North Dakota.

Hieb received a Bachelor of Arts degree in math and physics from Northwest Nazarene College in 1977. He went on to graduate from the University of Colorado at Boulder in 1979 with a Master of Science degree in aerospace engineering.

NASA career

Upon graduation from CU/Boulder, Hieb went to NASA/JSC to work in crew procedures development and crew activity planning. He worked in the Mission Control Center on the ascent team for STS-1, and during rendezvous phases on numerous subsequent flights. He has an extensive background in on-orbit procedures development, particularly in rendezvous and proximity operations. Selected by NASA as an astronaut candidate in June 1985, Hieb qualified July 1986 for assignment as a mission specialist on future Space Shuttle flight crews. A veteran of three space flights, Hieb flew on STS-39 in 1991, STS-49 in 1992, and STS-65 in 1994. He logged over 750 hours in space, including over 17 hours of EVA (spacewalk), traveling over 13 million miles.

Hieb first flew on the crew of STS-39, an unclassified Department of Defense mission which launched on April 28, 1991, from the Kennedy Space Center in Florida. During the mission, he was responsible for operating the Infrared Background Signature Satellite from within the payload bay, on the Remote Manipulator System and as a free-flying satellite. He also operated the remote system to release the satellite, and then to retrieve the satellite a day and a half later. After 134 orbits of the Earth which covered 3.5 million miles (5,600,000 km) and lasted just over 199 hours, the crew landed at California, on May 6, 1991.

Hieb was also a mission specialist on the crew of STS-49, the maiden voyage of the new Space Shuttle Endeavour, which launched from the Kennedy Space Center on May 7, 1992. During that mission, Hieb along with astronaut Pierre Thuot, performed three spacewalks which resulted in the capture and repair of the stranded Intelsat VI F3 communications satellite. The third spacewalk, which also included astronaut Tom Akers, was the first ever (and to date only) three-person spacewalk. This 8 hour and 29 minute spacewalk, the longest in history, broke a twenty-year-old record that was held by Apollo 17 astronauts.  The STS-49 record endured for 9 years until being surpassed by James Voss and Susan Helms on the International Space Station, and now stands in second place for EVA duration. The mission concluded on May 16, 1992 with a landing at Edwards Air Force Base after orbiting the Earth 141 times in 213 hours and traveling 3.7 million miles (5.9 million kilometres).

Hieb was the payload commander on the second flight of the International Microgravity Laboratory on Space Shuttle Mission STS-65. The mission launched from Kennedy Space Center in Florida on July 8, 1994, and returned there on July 23, 1994, setting a new flight duration record for the Space Shuttle program. During the 15-day flight the crew conducted more than 80 experiments focusing on materials and life sciences research in microgravity. The mission was accomplished in 236 orbits of the Earth, traveling 6.1 million miles (9.8 million kilometres).

References

External links

Spacefacts biography of Richard Hieb

1955 births
Living people
21st-century American engineers
American people of German-Russian descent
People from Jamestown, North Dakota
University of Colorado alumni
NASA civilian astronauts
Lockheed Martin people
Space Shuttle program astronauts
Spacewalkers

Richard Hieb


ووودلاند  هي إحدى مدن مقاطعة يولو، كاليفورنيا. تم إعطاءها لقب مدينة في 22 فبراير، 1871.

المناخ
يظهر الجدول التالي التغييرات المناخية على مدار السنة لووودلاند:

أعلام

 كودي هوكينز
 سوفي كرامب
 باول ديفيس
 ستيف أندرادي
 خوسيه أنطونيو بوين
 غاري دونكان

مراجع

أماكن مأهولة أسست في 1871
تأسيسات سنة 1871 في كاليفورنيا
مدن كاليفورنيا
مقرات المقاطعات في كاليفورنيا
مدن في مقاطعة يولو (كاليفورنيا)
وادي ساكرامينتو

ووودلاند (كاليفورنيا)